Van gogh – The Idyllists Fri, 07 Jan 2022 16:41:00 +0000 en-US hourly 1 Van gogh – The Idyllists 32 32 What’s new on the Manchester guide: events to enjoy in January 2022 Fri, 07 Jan 2022 16:41:00 +0000 We’ve put together a video guide on what to do after Christmas.

Once the hustle and bustle of the Christmas festivities slowly fades, January can be a much quieter month, but even though things have slowed down, that doesn’t mean there isn’t something to do in just yet. the city-region.

Revolution against cancer: science, innovation and hope

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The Museum of Science and Industry offers visitors the chance to explore the scientific revolution that is transforming cancer care. The free exhibit explores how cancer has been treated over the centuries as well as the stories of people living with, treating and affected by cancer today.

You can buy tickets here.

SEALIFE Manchester

Maybe you fancy trying something new in 2022? Well if you’re a shark fan but diving into the depths isn’t quite what you’re looking for, SEA LIFE Manchester has launched a new snorkel cage experience that lets people get up close and personal like never before.

With over 1000 creatures from the depths at the Trafford Center Marine Life Aquarium, the surface snorkeling session allows you to get up close and personal with some incredible creatures.

You can buy tickets here.

Van Gogh alive

After welcoming more than 120,000 visitors since its launch in October, the world’s most visited multisensory experience, Van Gogh Alive, will remain in Media City for another month until the end of February.

Prepare to transcend time and space as you accompany Van Gogh on a journey to the places where he has created many of his timeless masterpieces. Created by Grande Experiences, the immersive exhibition presents 3,000 images that have defined him as an artist.

You can buy tickets here.

Stick Man – The Lowry

If you’re not quite ready to let go of the Christmas spirit, there’s still time to see Stick Man ending at The Lowry this weekend.

It tells the story of an unfortunate Stick Man who gets lost while jogging and is desperate to get back in the family tree. The award-winning production features a trio of actors and is packed with puppets, songs, live music and funky moves.

You can buy tickets here.

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Van Gogh exhibition workers will be paid hundreds of hours in Sick & Safe’s downtime Wed, 05 Jan 2022 20:26:31 +0000 Lighthouse Immersive said employees will see sick hours starting December 30, blaming payroll software for the error. Employees are estimated to have missed $ 11,000 in sick leave.

MINNEAPOLIS – For months, employees working at the Immersive Van Gogh exhibit in Minneapolis were not accumulating sick and safety hours, a mandate from the City of Minneapolis ordinance.

According to former exhibition director Quang-Minh Tran, this resulted in an estimated loss of $ 11,200 in accumulated sickness hours.

Parent company Lighthouse Immersive, just hours after being contacted for this story on December 21, sent a message to its Minneapolis employees telling them that sick and safety hours will be added to future paychecks and his work. to comply with the City of Minneapolis ordinance. On December 31, the company told its employees they could access their sick hours with the next paycheck.

Any former employee, as well as current employees, who must be absent from work due to illness can claim a check after Jan. 7, according to Lighthouse.

“We feel bad about it, as soon as we realized it we tried to rectify the situation as quickly as possible, by working with Paylocity,” said a spokesperson for Lighthouse.

Three company employees told KARE 11 that their inquiries go back several weeks, with little response from senior management until the issue was made public.

Lighthouse Immersive, however, told KARE 11 that the issue is lingering due to software complications from its payroll company, Paylocity.

Paylocity told KARE 11 that it still allows customers to optimize payroll services to comply with city laws, stating in an email “that there have been no technology issues that would have an impact. impact on customers accumulating or displaying accumulated hours on employee timesheets.

The Minneapolis Sick and Safety Time Ordinance requires employees who work in Minneapolis to accumulate at least one hour of sick and safety leave for every 30 hours worked. None of the pay stubs, dating back several months, sent to KARE 11 show any accumulated sick hours.

Regardless of the blame, Lighthouse said the issue is resolved and is working to assign retroactive hours to current employees, promising to pay former employees who have lost sick leave.

But how could an international company, with more than a hundred Minneapolis employees at a time, go several months without letting employees accumulate sick leave?

Emails obtained by KARE 11 show that the issue was originally raised by Quang-Minh Tran, former deputy director of operations for the Minneapolis Van Gogh exhibit, on November 14.

“To my knowledge, we are currently not in compliance with this order and this needs to be dealt with immediately, the most important step being the retroactive issuance of Sick &

Safety time that would have been accumulated for all employees based on their hours worked, and that this information must be visible on pay stubs, in accordance with the Salary Theft Prevention Ordinance, ”wrote Minh in his email to senior management. “Please ensure this is implemented as soon as possible at the company level and in Paylocity, unless the company wishes to address the workforce violations / salary theft reported to the Department of Minnesota Labor and Industry. “

Tran said he reported it to HR, but no public action was taken until he left on December 17, 2021.

“It’s incredibly disappointing, the company itself is expected to have done their due diligence to prevent this from getting to this point to begin with… they didn’t do that due diligence. “said Tran.

Tran has supervised dozens of employees during his months at Lighthouse Immersive, estimating that around 700 Sick & Safe hours were not tracked by Lighthouse Immersive or its payroll software.

Tran said employees at the lowest hourly rate at the Van Gogh Exhibition were paid $ 16 an hour. This meant that at least $ 11,200 in sick leave was not available to employees, he said.

“Whenever we were sick they would just tell us to stay home, there was never a paid sick leave option, it just was never on the table,” said Alyssa Castillo, part-time employee at the Minneapolis Van Gogh exhibit.

A spokesperson for Lighthouse told KARE 11 he was first notified of the issue around mid-November and alerted Paylocity.

“(Paylocity) is updating their system because they didn’t have the (system) right to put those numbers on pay slips,” the spokesperson said over the phone. “They are rectifying the situation, and of course if someone deserves a salary that they did not receive, of course, they will receive that salary.”

What are the issues that have blocked employees from their sick pay?

In its email to Minneapolis employees on December 31, Lighthouse said it was a failure on Paylocity.

“In this case, they did not include the Minneapolis Safe & Sick Time Ordinance… and we did not recheck their work,” the statement said.

Paylocity told KARE 11 that there has never been a case where it cannot fill out a city wage ordinance and implement it in its software.

“Our platform allows companies to put in place accumulation plans (including the Minneapolis Sick & Safe policy) to meet their local and state regulations,” the company said in an emailed statement.

Paylocity went on to say that it has been offering Minneapolis customers the opportunity to accumulate Sick & Safe time since July 31, 2017, but customers have to request it themselves because “many customers have PTO / Sick policies. more generous than local mandates “.

Lighthouse Immersive said it was a bug in Paylocity’s software that did not allow sick hours to be displayed.

“They fixed the bug in their system so that these hours were accumulated and visible to everyone,” said the spokesperson for Lighthouse Immersive.

Lighthouse did not elaborate on the specific issue which took several weeks to resolve.

“I can’t really answer that it’s just that (Paylocity) rectified the situation,” said the Lighthouse spokesperson.

Paylocity also told KARE 11 that he cannot discuss the specific communications he has with Lighthouse.

“It’s definitely a question of transparency”, … how the employees will get their hours back

Part-time Castillo told KARE 11 Safe & Sick time in Minneapolis was not known to her or her colleagues until Tran noticed the city law.

When speaking to Lighthouse, Castillo said she was told this was an issue they were working on, but said nothing had changed until Minh submitted the problem at Reddit.

“I think not only was the problem dragged out much later than it should have been, but I think the problem was not resolved until it was brought to the attention of the public, ”Castillo said.

Tran said he brought the issue to Reddit because the situation was not rectified.

“Ultimately my only hope in doing this is to pressure the company to do the right thing and adhere to the local ordinance and simply to provide the sickness and safety time that its workers rightly deserve, ”Tran told KARE 11. This interview took place. ahead of Lighthouse’s company-wide email on December 31.

After a few months, it looks like Tran is getting his wish fulfilled.

Katie Rein, a former manager who left the company in early January, said stress on employees would have been avoided if more had been communicated.

“It’s definitely about transparency, they weren’t transparent about this process… people were asking,” Rein said.

Leanne Fuith, associate professor at Mitchell Hamline School of Law, told KARE 11 that city ordinances are often missed by international businesses.

“I would say it’s not surprising for… an out-of-state employer that it might not be something they know about,” Fuith said, “They definitely need familiarize yourself with it. “

“Generally speaking, employers should be concerned with compensating wages that have not been adequately compensated as well as any penalties that may be mandated by the state for a particular violation,” Fuith said when asked him about the penalties that accompany the avoidance of Sick & Safe Weather in Minneapolis.

The Lighthouse Immersive communication sent to employees on December 31 gives current employees two options: collect payment on the previous sick leave they have accumulated or have their Sick & Safe time bank filled with the retroactive hours they have. could win.

They apologized for not implementing Sick & Safe earlier and said they would start contacting former employees about retroactive sick pay.

“It was and still is our intention to follow the rules of every city and state in which we operate,” Corey Ross, president of Lighthouse Immersive, said in the staff email.

Now past and current employees are waiting for retroactive hours and paying to come by Friday, January 7.

Rein said it couldn’t happen sooner, with some recent COVID exposures reported to him there before his resignation in early January.

“This sick time is something that they can all use right now… Sickness benefits are such a huge problem,” Rein said.

WATCH: Mpls. and the Saint Paul Sick Leave Ordinances come into effect July 1.

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“Beyond Van Gogh” will land at the Del Mar Exhibition Center Mon, 03 Jan 2022 22:00:58 +0000

During his 37 years of life, Vincent Van Gogh was virtually unknown as an artist, perpetually impoverished and, by most accounts, mentally unstable.

Today, he is one of a handful of artists such as Picasso, Dali, Monet and Warhol who have gone on to become posthumous pop stars.

Reproductions of Van Gogh’s most revered paintings can be seen on mass-produced prints, posters, T-shirts and calendars. The life and art of this 19th century Dutch artist are explored in books, films and documentaries.

Yet to experience a Van Gogh work in person requires visiting a handful of museums around the world, including the J. Paul Getty in Los Angeles.

In such places, a viewer may have a fleeting moment to spot a Van Gogh in the midst of long queues. Such opportunities are even more limited in the midst of the pandemic.

Enter “Beyond Van Gogh: The Immersive Experience,” which is scheduled to appear January 14 through March 6 at the Wyland Center at Del Mar Exhibition Center.

The show, which has been on tour in North America and will soon travel to the Southern Hemisphere, promises to be a spectacular three-dimensional journey through the artist’s world using cutting-edge audiovisual technology.

Information about the exhibition and tickets can be found at

“It’s really an experience that was created with the pandemic in mind,” said Montreal art historian Fanny Curtat, consultant on the project. “It allows people to disperse and still have a cultural experience (while) maintaining sanitary measures.”

Curtat said the producers of the project – also Canadian – approached Montreal’s Studio Normal and its creative director, Mathieu St-Arnaud, with the idea of ​​putting on the show.

“It was up to the studio to find a new twist on this experience as there are already immersive experiences on Van Gogh,” said Curtat. “It was therefore a matter of finding something else to say about it, something to be really in tune with the subject itself.

“And that’s where I come in as an art historian. It was about creating a sort of dialogue between the immersive structure – this device of enchantment – and the urge for beauty and the kind of need for a purpose that we find in Van Gogh’s work.

The show, which lasts about an hour, consists of three sections: an introductory room with panels illuminating texts taken from Van Gogh’s own words; a portal called the “cascade room” which transports viewers to the final space; and the immersive room, in which Van Gogh’s images are projected onto large panels from ceiling to roof and choreographed to music.

“You literally walk among the colors and the brushstrokes,” Curtat said. “You are surrounded by large screens that go up to the ceiling. It really is all around you. You cross it. When you have kids in it, they just run, follow the brushstrokes, follow the colors.

“It’s really allowing the public to go beyond the frame, to gain a foothold in the paintings themselves. So it’s a kind of fantasy to be really inside the world created by the artist and to really have a new angle on the vision of the world he was putting forward.

Works such as the iconic “Starry Nights” and “Sunflowers” ​​are natural for such luminescent treatments among the 300 works by Van Gogh represented in the exhibition.

In his book “History of Art”, HW Janson talks about the visual excitement of a famous piece by Van Gogh.

“In ‘Field of Wheat and Cypress’, the earth and the sky show an irresistible turbulence – the field of wheat looks like a stormy sea, the trees shoot up from the ground like flames, the hills and the clouds rise with the same undulating movement. The dynamism contained in each brushstroke makes each one not only a deposit of color, but an incisive graphic gesture.

“Beyond Van Gogh,” says Curtat, illustrates the exhilarating nature of Van Gogh’s paintings, created as he struggled with overwhelming psychological episodes towards the end of his life while living primarily in the southern part of the country. France.

Another example of Van Gogh’s work as shown at the exhibition.

(Paquin Entertainment Group)

Most famous, in an extremely agitated state, Van Gogh cut at least part of his left ear with a razor, resulting in severe bleeding and hospitalization. He died on July 27, 1890, apparently of a self-inflicted gunshot wound.

“There is so much more to Van Gogh than just the ear cutting incident,” Curtat said. “That’s the whole point of this experience – to go beyond the darkness of myths, beyond the artist in difficulty, legend of the mad genius with whom he is associated, because all this is only true in a to some extent. Most of the time, it kind of gets in the way of how you view his work.

“All the darkness in his life – it’s really not what you see when you look at a Van Gogh painting. So this experience (Beyond Van Gogh) really tries to emphasize that – to emphasize the light and the beauty and the colors that he put into his work, and the fact that the painting and nature healed him. “

The message communicated in “Beyond Van Gogh” could not come at a better time.

“There is something very inspiring about someone who has gone through these struggles in a similar and sometimes very different way than what we are going through now,” said Curtat. “But it’s so inspiring to see this ability to transcend the pain of your life and see the beauty of the world around you, and he used it as a method of healing.”

While obviously educational and entertaining, “Beyond Van Gogh” offers the added benefit of encouraging visitors to develop an appreciation for art and Van Gogh that they may not have previously experienced. .

“This is a good thing, I believe, for people who are a little intimidated by museums and who might not think art is for them, or who might not understand how a 19th century artist can be. relevant to a 21st century audience, ”Curtat mentioned.

“So I hope an experience like this will bridge that gap. By allowing an audience to create a connection with Van Gogh, maybe the next time they visit a city where a Van Gogh is in a museum, they might be curious about the aura and the pure magic of an original Van Gogh painting. “

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USA Today readers name Roots 101 as one of America’s best new attractions Sat, 01 Jan 2022 21:47:00 +0000

USA Today readers name Roots 101 as one of America’s best new attractions

A Louisville museum announced that it was chosen by USA Today readers as one of the best new attractions of 2021.

A Louisville museum announced that it was chosen by USA Today readers as one of the best new attractions of 2021, Louisville Business First reported. The Roots 101 African American Museum, located at 124 N. First St., is one of 10 winners of the USA Today 10Best Readers’ Choice Award for Best New Attraction. The Louisville Museum was chosen from a list of 20 competitors compiled by national travel experts. the SkyFly: Soar America Flying Theater in Pigeon Forge, Tennessee; and the Museum of the Southern Jewish Experience in New Orleans, Louisiana. Learn more about the award-winning Louisville Business First Museum.

A Louisville museum announced that it was chosen by USA Today readers as one of the best new attractions of 2021, Louisville Business First reported.

Roots 101 African American Museum, located at 124 N. First St., is one of 10 winners of the USA Today 10Best Readers’ Choice Award for Best New Attraction.

The Louisville Museum was chosen from a list of 20 competitors compiled by national travel experts.

Other winners in the category include: the traveling exhibition “Van Gogh Exhibition: The Immersive Experience”; the SkyFly: Soar America Flying Theater in Pigeon Forge, Tennessee; and the Museum of the Southern Jewish Experience in New Orleans, Louisiana.

Learn more about the award-winning Louisville Business First Museum.

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SEE THE STARS: see the stars thanks to Studio Roosegaarde Fri, 31 Dec 2021 07:33:09 +0000

Seeing the stars is a switch at your fingertips! This is the motto that drives Studio Roosegaarde’s latest company, SEEING STARS. What seems to be something quite natural, enjoying a starry night – unsurprisingly the title of one of Van Gogh’s most famous paintings, to whom the Roosegaarde Studio had already paid tribute with their work Van Gogh Path – is actually quite difficult in cities today.
Indeed, more than 80% of the world population is affected by light pollution. Which means that, while less than 100 years ago, anyone could look up and see a spectacular starry sky, today millions of children around the world will never be able to experience the Milky Way there. where they live. The ever increasing and widespread use of artificial light at night, not only compromises our view of the universe, but negatively affects our environment, our security, our energy use and our health. But there is a solution to this problem: just turn off the light!
An idea as simple as it is brilliant, that the Dutch artist and innovator Daan Roosegaarde proposes in an action, as he explains, to “bringing the stars back to create a sense of connection with each other, something we are missing in this COVID-19 pandemic“. SEEING STARS is a collaboration between the locals, government and businesses of Franeker, Unesco Netherlands and Studio Roosegaarde to turn off all non-essential household lights, billboards and street lights. city-wide light pollution, residents once again have access to something that has always been there, but cannot be seen anymore: a sky full of wonder which, thanks to SEEING STARS, can be rediscovered.
After all, it’s enough Easy regain possession of the universe. All it takes is a simple gesture that brings people together and provides a deep sense of collective solidarity in times of isolation, exasperated by the ongoing pandemic. By turning off all non-essential lights in Franeker, locals once again have access to something that has always been there, but could no longer be seen: a sky full of wonder. As Daan Roosegaarde explains, “Everyone is now in their little bubble, disconnected from each other. I realized that every night there was actually an amazing light show hidden high up in our sky. SEEING THE STARS brings the stars back to your own street. The stars are at a switch.
Indeed, SEEING STARS creates a sense of connection, not only between us as we stop to rediscover the beauty of a true starry night, but also with our planet. SEEING STARS is a collaboration between residents, government and businesses of Franeker, Unesco Netherlands and Studio Roosegaarde. No need to be afraid of the dark: public safety is guaranteed in close collaboration with the local government. SEEING STARS begins in the town of Franeker and aims to travel to other destinations such as Leiden, Sydney, Venice, Stockholm and Reykjavik.
Unesco, Nacht van het Wad, Earth Hour, Nacht van de Nacht and the International Dark-Sky Association have all already advocated times of darkness to help improve human and animal welfare. SEE THE STARS is part of this movement, a radical gesture that emphasizes stargazing in our cities. An approach that contributes to the United Nations Sustainable Development Goals, while reflecting the rich astronomical history of the city of Franeker. When are we going to follow suit and turn off the lights in our cities too to see the stars?
SEEING STARS is the third project of the DreamScapes series organized by Studio Roosegaarde and MediaMonks, to showcase the beauty of a better world by combining art and science.

Christiane Bürklein

Project: Studio Roosegaarde in collaboration with Unesco Netherlands, Visit Friesland, Visit Wadden, Media.Monks and the city of Franeker.
Location: Franeker, The Netherlands
Year: 2021
Images: Albert Dros and Merel Tuk. Media.Monks film starring Jan Kooyman and Studio Roosegaarde.

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Top 5 things to do in January in western North Carolina Wed, 29 Dec 2021 20:27:52 +0000

It’s cold but the family adventure is still waiting. Hear a story, browse the trees, discover art, or gaze at the stars, all available this month.

Get toddlers out of the house (and hang out with other adults) at story time with music and movement. It’s 10:30 a.m. Thursday at the Henderson County Main Library. Visit or call 828-697-4725.

Bundle up and enjoy a quieter season outdoors with a winter special for locals. Residents of Buncombe, Henderson, and Transylvania counties can save in January and February at the Adventure Center of Asheville. Use code AVLVIP for 50 percent off Treetops Park, Kid Zip, or Asheville Zipline tours. ID is required upon check-in. Visit

If your telescope is gathering dust, now is a great time to come back to this hobby and get everyone in the family involved. The Starry Sky Astronomy Night will take place on January 12 from 6:30 p.m. to 8:30 p.m. at the PARI – Pisgah Astronomical Research Institute. The event is aimed at astronomers of all skill levels. For more details and registration information, visit

ArtPlay is now open in the River Arts District. Saturday Stay + Play takes place on Saturdays from 1 p.m. to 4 p.m. and offers a chance to experiment with all kinds of materials. 45-minute self-guided tour at $ 10 per person. Take what you win (extra $ 5) or just come and play. For more details, visit

Van Gogh alive

Live the multisensory experience of Van Gogh Alive until March 5 at Biltmore Estate. For up-to-date tickets and health and safety policies, visit

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🌱 Reopening of Ripley’s Econ Soccer + Orlando test site reinvented Mon, 27 Dec 2021 21:42:04 +0000

Happy Tuesday, Orlando residents! Let all of you know what’s going on locally to start today on an informed note.

First of all, the weather forecast for the day:

Fog in the morning; partly sunny. High: 80 Low: 63.

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Here are today’s top five stories in Orlando:

1. Orange County reopened his COVID-19 test site at Budget soccer complex Monday to help overwhelmed test sites. The site offers Free 7/7 PCR and Rapid COVID-19 tests, except New Years Day and New Years Day. (Click on Orlando)

2. Missing person: Osceola County Members of Parliament are in search of a missing woman last seen around a Econolodge on West US 192, according to a tweet posted on Monday. Rebecca Joleyne Scholz is blonde and has green eyes and is described as being 5 feet, 4 inches and weighing 150 pounds. Anyone with information is urged to contact the Osceola County Sheriff’s Office at 407-348-2222. (Click on Orlando)

3. One an investigation is underway in Lake County after a man threatened to bomb a T-Mobile store at Lady Lake. Donald Brown, 73 is accused of intrusion into an occupied structure (after warning) and make a false report regarding the planting of a bomb. (WFTV)

4. Doctors recovered the body from a canal on Christmas Day from a deceased man believed to be Vensly Maxim, 14 years olde, a Crestwood Middle School student was missing by his family December 22. The body was taken to the medical examiner’s office and an investigation is underway. (WESH)

5. Ripley’s Orlando used his extended COVID shutdown to completely reinvent the Orlando Odditorium. The changes include a space themed bedroom with accessories inspired and used at Florida’s historic space ports. (Orlando Weekly)

Today’s Orlando Daily is brought to you in part by our friends at Ring, the home security company. Ring does more than just doorbells – discover their full line of smart home products on And thank you ring for helping to shake up the local news in Orlando!

Today in Orlando:

  • Free skate at the Ice Den meeting. (12h00)

  • Dr. James R. Smith Neighborhood Center COVID-19 mobile site. (15:00)

  • Blue Swan Boulders climbing course. (6.30 p.m.)

  • Milwaukee Bucks at Orlando Magic. (7:00 p.m.)

  • Immersive Van Gogh (pic) at the Orange County Convention Center. (7:00 p.m.)

From my notebook:

  • COVID-19 hospitalizations in Florida Pink 75.7% over 14 days and 49.3% over 7 days, according to the Florida Hospital Association. (Twitter)

  • COVID-19 rapid home test kits will be distributed during a driving event to Wednesday, to Seminole State College Sanford / Lake Mary campus. (Twitter)

  • the Gasparilla Bowl Game, with the UCF wins over Florida Gators drew 3,201 million the viewers at ESPN – behind only NFL football Thursday night (7.898m). (Twitter)

  • Water disconnections for non-payment are set to resume on January 1, 2022 in Seminole County. (WMFE)

More from our sponsors – thank you for supporting the local news!


Do you like the daily life in Orlando? Here are all the ways you can get more involved:

You are now in the know and ready to start this Tuesday. See you soon!

Carlos hernandez

About me: Hello, my name is Carlos Hernandez and I am a food writer with over 10 years of experience in the industry. I write the Carlos Eats Food Blog ( and I also contribute to several newspapers and magazines with food related blogs and articles.

This article originally appeared on the Orlando Patch

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Art review: Classical music translated into colorful compositions Sun, 26 Dec 2021 09:00:37 +0000

Don’t be surprised if you think you hear tunes from Mozart’s “Don Giovanni” as you approach 100 Fore Street, the address of the Elizabeth Moss Galleries’ new Old Port outpost.

Moss is not actually showing the opera in the gallery. But there is no need. The paintings of “Lynne Mapp Drexler: Orchestrations in Color”, through Friday, provide the soundtrack. Drexler was passionate about classical music, and many of her abstract paintings from the 1950s and 1960s were visual interpretations of the music she experienced at Carnegie Hall, which she channeled into sketches she drew from her career. sits during performances.

Back in her studio, she used them as starting points for intensely colored, densely layered compositions with idiosyncratic brand combinations: Seurat and Pissarro’s stippling, Van Gogh‘s thick and thick swirls and strokes, geometric shapes. more defined by Hans Hofmann (one of his most influential teachers, along with Robert Motherwell), the fast and rhythmic notes of Cézanne.

Mentioning all of these stylistic influences in no way diminishes the individuality of Drexler’s work. When asked her friend Tralice Bracy to define what makes a good artist, Drexler replied, “Someone who has their own vision and commitment and sticks to it… and doesn’t sell themselves.” Drexler, who died on Monhegan Island in 1999, was undoubtedly such an artist.

It was in fact her commitment to her art that led her to voluntarily exile from New York in 1983, when she decided to abandon an art scene that she deemed had become superficial and commercial in order to live the whole life. year on Monhegan.

She and her husband, fellow painter John Hultberg, had bought a house there and had spent many summers painting outdoors.. By the 1980s, its measured early success – still eclipsed by the male-dominated American Abstract Expressionist movement – had waned, and a new school of painting, Pop Art, had eclipsed Ab Ex as an “it” genre.

What strikes you most immediately is the Drexler palette. It’s a confident rash without holes of deeply saturated pigment, and it’s applied in thick, brash strokes. “Eclipse”, for example, is an intricate construction painting that ripples across the surface with tangerine and spice oranges, citrine and golden yellows, scarlet and vermilion reds, cobalt and cerulean blues, purples and plum purples, tawny and shaded browns.

Most of the paintings in this exhibition are therefore spectacularly polychrome. “Bubbled Pink” is a fugue that ranges from pink to fuchsia to crimson. “Celestial Division” is a kaleidoscopic sampling of so many nuances that it would take several paragraphs to discuss it here.

Lynne Drexler, “Papers 190”

Even with works that initially appear dark and monochrome, such as “Paperwork # 190,” “Paperwork # 191”, and “Thematic Repeat,” close inspection reveals many subtle variations in hue within a theme.

The first paintings here are various works on paper by Drexler made in 1959. They are emblematic of Motherwell’s belief that an artist should approach a surface without preconceived notions of form or composition. The emphasis should be on process and expression. Using a rainbow of colors, Drexler created several layers of brushstrokes that resemble mosaic tiles. They seem to spring up like confetti from an imperceptible existential void deep within the paper.

The feeling of creating something from nothing by gradually building up a surface with repeated markings would stay with Drexler his entire life. Some have also cited Gustav Klimt as a possible source. But for Klimt, these marks, derived from Art Nouveau motifs and erotic allusions, were very decorative. In Drexler’s work, marks – at least until the end of his life – became the real material of manifestation. The autonomous gesture replaces the subject, whether a painting is inspired by a concerto or a landscape.

As his style matured, the vocabulary of brands grew. She never abandoned Hans Hofmann’s push-and-pull theory, which postulated that effective pictorial space depends on a tension between perfectly articulated color planes and a more gestural expressionist field of overlapping forms. She kept adding to this stylistic lexicon.

Lynne Drexler, “Longing for the Heat”

The push-and-pull is clearly visible in ‘Heat Nostalgia’, the last painting in the exhibition, dated 1980. Green rectangles and squares and purple circles around the border contrast with the dotted lines and slashes which dominate the picture. They are even more pronounced in “Radiation”, from 1977.

By the end of the 1960s, Drexler had begun to turn to more representative subjects, mainly landscapes by Monhegan. Although very stylized, “Heat Nostalgia” is clearly a view of grasses and lupines across a meadow, possibly the same meadow that stretched from her house to the cottages bordering the rocky coast of the island.

1976’s “Winter Serenity” is almost certainly a woody scene, probably also from Monhegan. But even without knowing the title of “Sunset Sea” (1969), the wavy markings and predominantly blue palette make the subject clear.

Eventually, Drexler felt that she had exhausted the possibilities of abstraction and turned to painting still-life compositions of flowers in vases, dolls, and clothes in a line, beating in the breeze. The marks – especially the rectangles and tessera-like squares – moved in interesting ways in the background as in Klimt’s paintings, although they still had a function beyond decoration: c that is to say, articulating a depth of space.

None of the latter paintings are in the exhibition. The reality is, while they felt unique to her in one way or another, these weren’t Drexler’s best works. This show – whose course is far too brief, so hurry up to see it – proclaims the singular voice she has carved out of the Ab Ex movement. You know a Drexler when you see one, both because that her style was so personal and because she had no imitators. Witnessing the lushness and visual power of these paintings makes the way she was ignored in her lifetime seems like a grave injustice.

Still, while it may be tempting to view his withdrawal from Monhegan as some sort of retreat, I prefer to see it as an act of defiance and liberation. From the start, Drexler refused to conform to fashion, indicating to me her isolation as an extraordinary display of willpower, clearly motivated by the importance she placed on her art and the assurance that what she did matter a lot.

On her deathbed, surrounded by friends, the painter Alice Boynton dons “Don Giovanni” to accompany Drexler into the afterlife. Boynton remembers Drexler, who perhaps loved Jack Daniels too much, rightly breathed his last during the opera’s champagne aria. “Orchestrations in color” has an equally festive meaning. In a way, it’s a well-deserved toast to a great artist.

Jorge S. Arango has been writing about art, design and architecture for over 35 years. He lives in Portland. He can be contacted at: [email protected]

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“Rudolph the Red-Nosed Reindeer” Producer Reveals Why Misfit Toy Island Is In Christmas Special Fri, 24 Dec 2021 09:57:07 +0000

Rudolph the red nosed reindeer Producer Arthur Rankin Jr. opened up on why the writers included Misfit Toy Island in the Christmas special.

Rankin said he wanted the Christmas story to be inclusive, and he explained some of the directions they took with the script.